The maid did it. Actually, so did the Irish tenor-cum-Nazi officer, and the pretentious, insecure, largely unappreciated film and theater director… It is "The Musical Comedy Murders of 1940," and if this plotline doesn’t confuse you yet, it is because you’re simply engrossed in the hilarious antics of this latest production from the Hazelwood West Student Workshop Theatre.

This comically convoluted mystery, a spoof on the elaborate mystery films of the 1940s, comes from New York’s Circle Repertory Company, where it debuted in 1987, moving to Broadway in the same year. Ten intriguing characters, each with outrageous quirks and a unique accent to boot, are brought together in typical murder mystery fashion, in the not-so-humble home of Elsa von Grossenknueten (Kayle Pierce) to hold auditions for “White House Merry-Go-Round,” a project bound for Broadway. Naturally, however, things are not as they seem, and the search for the infamous "Stagedoor Slasher" begins, bringing with it more twists and turns than the “average ordinary everyday secret passageways” of the mansion itself.

Each actor brings to the stage a unique and diligent characterization, as well as a sense of humor that shines at some point in the show. Despite a recurring lack of vocal energy and clarity, the cast takes on complicated blocking (including polished fight choreography by Meagan McCaughan) with confidence and understanding of comedic timing.

Among the cast, Madison Dennis tackles the traditional ingénue with sincerity and personalization, creating lovably awkward tension with Paul Langdon’s comical character. John O’Brien and Stephen Chamineak both present stand out performances with their strong, unwavering character choices. Yet the comedic highlight of the evening is Abi Ulrich, who masters the persona of Bernice Roth, the whimsically alcoholic lyricist. She sends the audience into fits of laughter, whether screaming or silent, in bright light and complete darkness.

The technical aspects of this production are impeccable, and lay a consistently solid groundwork for the actors. Simple and swift lighting cues (Kevin Wilson, Shayne Ard, and Alex Meyer) and sound cues (Beth Bischoff and Danielle Schlenk) flow naturally with the action of the play. Period costumes (Jeremy Gatzert) and makeup (Cassie Walker) set the scenes well. The stage crew deserves particular attention for their flawless execution of a demanding series of bookshelf moves, as do the set designers for their fantastically functional and aesthetically appealing set.

By the end of the show, the audience loses a sense what is really going on. Yet, at heart, that is the intention of the playwright. This production is remarkable, not for its plot development, but for its sincere ability to laugh at itself. It persuades us all to stop taking ourselves so seriously, including this particular critic, who finally put down the notepad and pencil, and just let himself laugh.